The Talented Mr. Ripley (1999) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Talented Mr. Ripley ( 1999 ) R | In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve Dickie Greenleaf, a rich and spoiled millionaire playboy. But when the errand fails, Ripley takes extreme measures. Director: User Lists Related lists from IMDb users a list of 31 titles created 20 May 2011 a list of 34 titles created 15 Oct 2014 a list of 31 titles created 01 Aug 2015 a list of 34 titles created 06 Sep 2015 a list of 30 titles created 5 months ago Title: The Talented Mr.

Ripley (1999) 7.3/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 5 Oscars. Another 10 wins & 75 nominations. See more awards » Photos A young man is a reformed gambler who must return to playing big stakes poker to help a friend pay off loan sharks. Director: John Dahl Tom Ripley persuades a man to commit a murder for a large sum of money. The situation goes out of control, and that man must escape trouble. Director: Liliana Cavani In the waning days of the American Civil War, a wounded soldier embarks on a perilous journey back home to Cold Mountain, North Carolina to reunite with his sweetheart. Director: Anthony Minghella An underdog lawyer takes on a fraudulent Insurance company. Director: Francis Ford Coppola A politically charged epic about the state of the oil industry in the hands of those personally involved and affected by it. Director: Stephen Gaghan The U.S.

government decides to go after an agro-business giant with a price-fixing accusation, based on the evidence submitted by their star witness, vice president-turned-informant Mark Whitacre. Director: Steven Soderbergh Danny Ocean and his eleven accomplices plan to rob three Las Vegas casinos simultaneously. Director: Steven Soderbergh The relationships of two couples become complicated and deceitful when the man from one couple meets the woman of the other. Director: Mike Nichols A cockney womanizer learns the hard way about the dangers of his actions. Director: Charles Shyer Edit Storyline The 1950s. Manhattan lavatory attendant, Tom Ripley, borrows a Princeton jacket to play piano at a garden party. When the wealthy father of a recent Princeton grad chats Tom up, Tom pretends to know the son and is soon offered $1,000 to go to Italy to convince Dickie Greenleaf to return home. In Italy, Tom attaches himself to Dickie and to Marge, Dickie's cultured fiancée, pretending to love jazz and harboring homoerotic hopes as he soaks in luxury.

Besides lying, Tom's talents include impressions and forgery, so when the handsome and confident Dickie tires of Tom, dismissing him as a bore, Tom goes to extreme lengths to make Greenleaf's privileges his own. Written by <jhailey@hotmail.com> How far would you go to become someone else? See more » Genres: Rated R for violence, language and brief nudity | See all certifications » Parents Guide: 25 December 1999 (USA) See more » Also Known As: The Strange Mr. Ripley See more » Filming Locations: $12,738,237 (USA) (24 December 1999) Gross: Did You Know? Trivia The scenes set in New York City that open the film were originally shot in Rome but were deemed unsatisfactory and later reshot in New York City. See more » Goofs When Freddie and Dickie are talking on the boat, Freddie has a drink in his left hand, and stirs it nervously with his right. From the reverse angle, the drink is in his right hand and there is no stirring. See more » Quotes [first lines] Tom Ripley : If I could just go back...

if I could rub everything out... starting with myself. See more » Crazy Credits The opening title uses all the adjectives of the complete title before cutting to the final "The Talented Mr. Ripley". See more » Connections A ravishing, emotionally complex, and heart-rending film of great elegance 3 January 2000 | by moviebuffcole – See all my reviews Seeing this gorgeous tango between Damon and Law, I was never less than captivated and riveted. Minghella has fashioned something literate, powerful, seductive, charming, tragic, and beautiful. His casting is nearly perfect. Damon is unforgettable as an amoral but fascinating character whom we even sympathize with by film's end. Law is stunning as Dickie, the man whose life Ripley adores. Paltrow is good, though she is not given a whole lot to do. Blanchett is perfect in a small but pivotal role that only adds to her already impressive filmography. This is a near-masterpiece. Minghella's talent for visual opulence is second to none, and his work here should earn him a directing Oscar nod. The same goes for many others associated with this brilliant achievement.

The ending is as unsuspected as it is inevitable, that is, sad and unsettling. In fact, the whole film underscores these emotions. Whereas Highsmith's original novel was cold and sometimes inert, the film makes Ripley much more of a living, breathing character, and as such, a great symbol of tragedy. It may be some time before I forget this intense experience. Certainly one that deserves multiple viewings. One of the best films of 1999. I think this may be one of the best pictures I have ever seen. Bravo everyone. A moving, rich knockout! 110 of 145 people found this review helpful. Was this review helpful to you? Yes Super Reviewer ½ Anthony Minghella absolutely knocked it out of the park with this taut and quite faithful adaptation of the first entry in a series of noir thrillers by Patricia Highsmith. Set in the 1950s, Tom Ripley is a young, bisexual man whose only real talents in life are forging handwriting, impersonating others, and running second-rate scams.

He makes his way in New York as a men's room attendant and occasional pianist, but, after being mistaken for a Princeton grad, he comes into contact with a shipping tycoon named Greenleaf who offers Tom $1,000 plus expenses to go to Italy and convince his wayward son Dickie to return home to the States. Tom sets out on this task, but after befriending Dickie and spending lots of time with him and his lover Marge, he becomes dangerously envious of the carefree and lavish lifestyle lead by Dickie, and after his advances are rejected, Tom decides he'd rather become Dickie instead of continuing his life as it was. After impulsively murdering DIckie and assuming his identity, he finds himself playing a dangerous game in order to cover his tracks and keep the truth hidden. Aside from greatly expanding on a minor character from the book and creating a whole new one for the movie, this is a wonderfully accurate and faithful take on the source material. It's a very taut and gripping psychological thriller, and the cast masterfully bring the characters to life. Matt Damon is tremendous, and successfully goes against type as the psychopathic con man with serious issues when it comes to identity and a sense of belonging.

He's quite chilling, and you really feel on edge as he tries to pull off the task of becoming someone else. Jude Law is marvelous as the arrogant and brash Dickie, and he really sells the carefree hipster persona of the character. Gwyneth Paltrow is really good as Dickie's lover Marge, although I feel she really gets overshadowed by everyone else, namely Philip Seymour Hoffman as Dickie's friend Freddie Miles, a really slimey and highly suspicious worm who barely conceals his contempt for the tormented lower class Ripley. It's a marvelous performance, and a real tribute to his talents, as Freddie is probably the most loathsome character here. The production values are top notch, the cinematography and location shooting are absolutely gorgeous, and the film is really strong when it comes to delivering the tension, suspense, and thrills. This is a classy and wonderfully engrossing thriller that you should definitely make a point to see. Chris Weber Utter stupidity that I can't believe I actually liked for a while. Cassie Hill Watch The Talented Mr. Ripley Online | 1999 Movie | Yidio Watch The Talented Mr.

Ripley "How far would you go to become someone else?" The Talented Mr. Ripley is a 1999 thriller film directed by Anthony Minghella and based on the 1955 novel written by Patricia Highsmith. The Talented Mr. Ripley follows the life of a struggling young man named Tom Ripley who is barely making a living in New York City. When a rich shipbuilder named Herbert Greenleaf mistakes Ripley for a schoolfriend of his son's from Princeton and offers him a thousand dollars to travel to Italy and persuade his son to come home, Ripley jumps at the opportunity to make money by using his talents of impersonation, lying, and forgery. Ripley accepts Mr. Greenleaf's offer despite having never attended Princeton or met Dickie. When Ripley arrives in Italy on Mr. Greenleaf's dollar, he arranges a chance encounter on the beach with Dickie and his girlfriend. Ripley tells Dickie a false story about attending Princeton, and Dickie believes him. Dickie quickly accepts Ripley into his circle, and all of Dickie's friends are welcoming to Ripley, except for one named Freddie Miles.

One day Dickie invites Ripley to travel with him for a few days to the Italian city of San Remo. In San Remo, Dickie and Ripley head out to sea on a private boat, where the two start a discussion that evolves into a fatal fight. Ripley covers up Dickie's death by drowning him in the ocean. When Ripley returns to their hotel, he finds that the concierge mistakes him for Dickie. Thus begins Ripley's second impersonation. When Ripley's web of lies become too tangled for even him to keep up with, he ends up committing crimes he wishes he hadn't to maintain his facade. Matt Damon stars as Tom Ripley, Jude Law stars as Dickie Greenleaf, and Phillip Seymour Hoffman stars as Freddie Miles. Cate Blanchett and Gweneth Paltrow also appear in supporting roles. The Talented Mr. Ripley was filmed primarily in Italy. The Talented Mr. Ripley (1999) - Anthony Minghella | Synopsis, Characteristics, Moods, Themes and Related | AllMovie The Talented Mr.

Ripley (1999) Directed by Anthony Minghella Genres - Drama , Thriller | Sub-Genres - Psychological Thriller , Crime Thriller , Period Film | Release Date - Dec 25, 1999 (USA) | Run Time - 139 min. | Countries - USA | MPAA Rating - R AllMovie Rating twitter Synopsis by Mark Deming After the Oscar-winning The English Patient , writer/director Anthony Minghella attempted another tricky literary adaptation with The Talented Mr. Ripley , which features heartthrob Matt Damon cast against type as a psychopathic bisexual murderer. Tom Ripley ( Damon ) is a bright and charismatic sociopath who makes his way in mid-'50s New York City as a men's room attendant and sometimes pianist, though his real skill is in impersonating other people, forging handwriting, and running second-rate scams. After being mistaken for a Princeton student, Tom meets the shipping tycoon father of Dickie Greenleaf ( Jude Law ), who has traveled to the coast of Italy, where he's living a carefree life with his father's money and his beautiful girlfriend, Marge ( Gwyneth Paltrow ).

Dickie's father will pay Ripley 1,000 dollars plus his expenses if he can persuade Dickie to return to America. As Ripley and Dickie become friends, Tom finds himself both attracted to Dickie and envious of his life of pleasure. In time, he decides that he would rather be Dickie Greenleaf than Tom Ripley, so rather than go back to his life of poverty, Ripley impulsively murders Dickie and assumes his identity. The Talented Mr. Ripley was based on the first of a series of novels featuring Tom Ripley written by Patricia Highsmith ; the story was previously filmed in 1960 as Purple Noon , with Alain Delon as Ripley. Characteristics The Amazing `Mr. Ripley' / Matt Damon heads a top-notch cast in a thriller of the real vs. the fake - SFGate MenuSections The Amazing `Mr. Ripley' / Matt Damon heads a top-notch cast in a thriller of the real vs. the fake Bob Graham, Chronicle Senior Writer Published 4:00 am, Saturday, December 25, 1999 THE TALENTED MR. RIPLEY: Mystery thriller.

Starring Matt Damon , Jude Law and Gwyneth Paltrow . Directed by Anthony Minghella . (Rated R. 140 minutes. At Bay Area theaters.) If anybody can create sympathy for the devil, the angelic Matt Damon can. As the title character of "The Talented Mr. Ripley," he plays an ingratiating sociopath who works his way through the American upper crust at play in Italy, leaving behind a bloody but elusive trail. The mystery is not who did it, but whether he will get caught. This thriller is so expertly -- and perversely -- poised that audience members may find themselves secretly rooting for the duplicitous Ripley. Related Stories Everyone's Talented in `Ripley' / Matt Damon stars as deadly chameleon The talent is by no means limited to Mr. Ripley. Damon is matched in every slippery turn by a right-on-the-money cast that includes Jude Law, Gwyneth Paltrow, Cate Blanchett and Philip Seymour Hoffman . Director Anthony Minghella ("The English Patient") adapts the second screen version of the Patricia Highsmith novel for fresh surprises.

Along the way, he exposes the dirty little secret of American democracy: the impenetrable barrier the upper class erects around itself. So the question becomes, is it better to be a fake somebody than a real nobody? Minghella takes a close look at this question over a never-lagging-for-a-moment two hours and 20 minutes. He gives it so many seductive twists across the map of Italy that the upwardly mobile among us, if they're honest with themselves, will opt for the fake. Tom Ripley does, and never looks back. In the chase for the best holiday movie this season, "Ripley" is one step ahead of the rest. The film certainly begins with the slickest main titles, as the many-faceted Mr. Ripley's various attributes flash by, replacing the word "talented." The only thing they leave out is that he is poor and has no intention of staying that way. In Damon's uncanny performance, people think Ripley's "an exceptional young man," and there's no doubt of that. He is first seen accompanying a classical singer at the piano, but next he's brushing down gentlemen's clothes for tips.

No one has to show him the money. He has an extraordinary nose for sniffing out the rich, even when they are trying to play down their status by traveling under their mother's name so no one will recognize them. The chameleon Ripley takes on the attributes, accents and expressions of the rich in an -- instant. He can do imitations of someone moments after meeting him -- or her. His own look is nondescript, a '50s version of a preoccupied nerd, dorky eyeglasses, downturned smile and all. If things go against him, he can turn on a dime. His other talents: forging signatures and telling bald- faced lies without batting an eyelash. He has a remarkable capacity to shrug off setbacks and just keep moving. A wealthy shipbuilder named Greenleaf puts down his guard and takes Ripley for someone he can trust. He dispatches Tom to Italy to persuade his ne'er-do-well son, Dickie, to come home. As the supercilious Dickie, the tawny Law ("eXistenZ") catches exactly his character's curious balance of attraction and repulsion.

The thoroughgoing expatriate at leisure, he indulges his love for boating and jazz at lively waterfront joints. The kiss-on-both-cheeks greeting for men and women alike, Italian style, is second nature to him. Paltrow ("Shakespeare in Love") is Dickie's blue-blood girlfriend, Marge, coolly perceptive but not enough so to see that he's two-timing her. It takes her a while to catch on to Ripley, too. A REPELLENT EXPATRIATE Hoffman ("Happiness," "Flawless") plays the loathsome Freddie, a fellow expat. Someone describes him as "the cream of America -- rich and thick." His indolent drawl outdoes even William F. Buckley 's. In Hoffman's performance, Freddie is so repellent that it wouldn't be surprising if some of his so-called friends would be happy to see him dead. Freddie is not only loathsome, he's too smart for his own good. He sees through Ripley. Wonderful character actors show up as the Italian police, including a volatile inspector from Rome. An ominous private detective whom the elder Greenleaf hires also appears and does an extraordinary reversal.

Ripley's a quick study. As soon as he learns that Dickie is a jazz buff, he gives himself a crash course -- and Damon later sings a tender version of "My Funny Valentine." The effective score includes Miles Davis ' "Nature Boy" -- though the lyrics are not sung, jazz fans will recall that they refer to "a strange, enchanting boy," a perfect choice. Ripley must be a good chess player, too, because he sees many moves ahead and lets social butterfly Meredith Logue (Blanchett) mistake him for Dickie. The impersonation will come in useful later -- until it all backfires. Eventually, Ripley will brazenly take over Dickie's identity to the point that he can register at posh hotels and cash checks in the other man's name. Ripley will even tell the truth when it serves his purposes. He lets Dickie know that he is Dickie's father's paid emissary because he sees that Dickie will get a kick out of stringing Dad along. "I'm the brother you never had," Ripley confides. Each of them, including Marge, is an only child; i.e., self-centered.

There are some people who are going to say with some justice that Dickie gets what he deserves. Dickie's attention is like a spotlight: When Law turns it on people, it makes them glow. It works with other women, besides Marge, whom Dickie wants to get into bed and -- who knows -- it begins to look as if it works with men, too. SEEING THE GEARS TURNING There are limits, however, to Dickie's attention. He gets bored with Ripley and tells him he has become a leech. Ripley is quick on his feet, and Damon lets you see the gears of the man's mind turning as he feigns innocence and panic starts to slip through. It is an altogether amazing performance. Ripley comes on to whomever he thinks can be useful to him. A gay undercurrent begins as a little frisson and breaks through the surface before this film reaches its conclusion, where Minghella is confident enough to leave something to the viewer's imagination. It will also leave audiences in a state of suspended tension that they haven't felt since "The Sixth Sense." This is the second excellent film based on the Highsmith novel.

Rene Clement 's "Plein Soleil," a French version called "Purple Noon" in English, was released in 1960. More condensed and economical, it came to a different ending and starred Alain Delon as the American Ripley. Believe it or not. Latest from the SFGATE homepage: Click below for the top news from around the Bay Area and beyond. Sign up for our newsletters to be the first to learn about breaking news and more. Go to 'Sign In' and 'Manage Profile' at the top of the page. Movie Review - - FILM REVIEW; Stealing a New Life, Carnal, Glamorous And Worth the Price - NYTimes.com FILM REVIEW; Stealing a New Life, Carnal, Glamorous And Worth the Price By JANET MASLIN Published: December 24, 1999 A FLOOD of adjectives bursts onto the screen at the start of Anthony Minghella's glittering new thriller, considering ways to describe Tom Ripley before settling on ''talented'' as le mot juste. This is only a minuscule show of ingenuity, but it's also a promise that the film will keep. ''The Talented Mr.

Ripley'' offers diabolically smart surprises wherever you care to look. Its opening credit sequence alone is a model of exquisitely economical suggestion, showing how the loan of a jacket with a Princeton insignia leads Tom from the life of a New York City men's room attendant to a thrillingly new world of opportunity. In a rush of gorgeous, agile exposition, Tom winds up in Europe, learning to say ''This is my face'' in Italian as he trains his binoculars on Dickie Greenleaf. Dickie is the spectacularly charismatic dilettante whose life Tom will eventually steal. ''I can tell you, the Greenleaf name opens a lot of doors,'' remarks the chauffeur who drives Tom away from a bleak Manhattan neighborhood and hands him his first-class ticket for an ocean passage. In light of the mind games that the movie has in store, both the remark and the carnal high-low contrast (meat hangs on hooks near the limousine) are as splendidly barbed as they can be. As a playwright and television writer who came to filmmaking with two comparatively modest, whimsical efforts (''Truly, Madly, Deeply'' and ''Mr.

Wonderful'') before the exponential leap of ''The English Patient,'' Mr. Minghella now establishes that his Oscar-winning triumph was no fluke. His hypnotic, sensually charged adaptation of Patricia Highsmith's fascinatingly reptilian murder story has the same kind of complex allure that made ''The English Patient'' so mesmerizing. This is a more conventional opportunity, being essentially the story of a homoerotic Faustian bargain played for keeps. But Mr. Minghella, who wrote and directed ''The Talented Mr. Ripley'' with acute attention to every nuance, significantly broadens what Ms. Highsmith had in mind. Adding a couple of important new characters and bringing the secrets of Tom's sexual longings to the surface, he risks losing the profound chill that made Ripley so disturbing in the first place. The character is several shades less loathsome and more conscience-stricken than he was to begin with, and his homosexuality is more openly expressed. But as played by Matt Damon with a fine, tricky mix of obsequiousness and ruthlessness, the nicer new Ripley is in no danger of losing his sting.

In a scenic, voluptuously beautiful film (kudos to the cinematographer, John Seale) that has a traffic-stopping cast, Mr. Minghella carefully plants the seeds of mayhem. When Tom is hired by Dickie's father (James Rebhorn) to bring the ne'er-do-well Greenleaf scion home from Italy, he contrives to bump into Dickie on the beach and to echo Dickie's infatuation with American jazz. The year is 1958, and it seems an impossibly glamorous time as depicted among pampered American expatriates in some of Italy's most breathtaking settings. Tom's tricks, from wearing an embarrassingly skimpy chartreuse bathing suit to casually flashing some of Dickie's favorite record albums, neatly accomplish their purpose. Soon he has made himself Dickie's latest diversion, and managed this without even alienating Marge (Gwyneth Paltrow), Dickie's girlfriend. Marge was a thick, lumpen target for Tom's misogyny in Ms. Highsmith's version. Here, though still hopelessly oblivious to sexual currents between the men, she becomes a reminder that Ms.

Paltrow makes as savvy a character actress as she does a swanlike leading lady. A word about the film's Dickie Greenleaf: this is a star-making role for the preternaturally talented English actor Jude Law. Beyond being devastatingly good-looking, Mr. Law gives Dickie the manic, teasing powers of manipulation that make him ardently courted by every man or woman he knows. During the first half of the film, Dickie is pure eros and adrenaline, a combination not many actors could handle with this much aplomb. During one especially sharp-edged scene here, as the tensions surrounding Dickie approach the unbearable, the handsome heir indulges in what he dismissively calls ''Marge maintenance'' on his sailboat. Leaving Tom and another rich crony, Freddie Miles (Philip Seymour Hoffman, scene-stealingly wonderful here), to wait uneasily during this sexual interlude, Dickie avidly plays off each passenger on the boat against the others. Something has to give. When it does, in the deadly encounter that sends Tom Ripley into his new life, the film changes greatly in tone. Once its touristy idyll is over, ''The Talented Mr.

Ripley'' becomes an elaborate round of gamesmanship about Tom's sleight of hand and how it can be sustained. The ruse, which Mr. Damon handles coyly and credibly, if not with the nascent Norman Bates streak that the situation warrants, is given an added complication by the presence of Meredith Logue. Meredith is a needy post-debutante played irresistibly by Cate Blanchett. Once Meredith latches onto Tom, who she thinks is Dickie, whom she regards as a bored and wealthy kindred spirit, the story has developed all the dizzying cross-currents it deserves. The last part of the film, which opens tomorrow, runs into problems. Eventually tangled up, like Tom, in the particulars of a trail of crime, it tries to use yet another of Tom's attractions (to another new character, played by Peter Smith-Kingsley) to settle his fate. And despite the occasional flash of Hitchcockian magic -- like a scene involving a razor blade in the pocket of a white bathrobe -- there are late scenes that flounder or lag. These concluding events are far less meaningful than the ones that sent Tom on his odyssey of self-invention in the first place.

As with any great impostor, there's more to say about where he came from than where he has to go. ''The Talented Mr. Ripley'' is rated R (Under 17 requires accompanying parent or adult guardian). It includes brief and implied sexual situations, strong sexual undercurrents, profanity and murder. THE TALENTED MR. RIPLEY Written and directed by Anthony Minghella; based on the novel by Patricia Highsmith; director of photography, John Seale; edited by Walter Murch; music by Gabriel Yared; production designer, Roy Walker; produced by William Horberg and Tom Sternberg; released by Miramax Films/Paramount Pictures. Running time: 135 minutes. This film is rated R. WITH: Matt Damon (Tom Ripley), Gwyneth Paltrow (Marge Sherwood), Jude Law (Dickie Greenleaf), Cate Blanchett (Meredith Logue), Philip Seymour Hoffman (Freddie Miles), Jack Davenport (Peter Smith-Kingsley), James Rebhorn (Herbert Greenleaf) and Sergio Rubini (Inspector Roverini). The Talented Mr. Ripley (film) - Wikiquote The Talented Mr.

Ripley (film) From Wikiquote The Talented Mr. Ripley is a 1999 film directed by Anthony Minghella , and starring Matt Damon , Gwyneth Paltrow , and Jude Law . It is based on the 1955 novel of the same title by Patricia Highsmith . Contents Tom Ripley[ edit ] If I could just go back... if I could rub everything out... starting with myself. I always thought it would be better to be a fake somebody than a real nobody. You're the brother I never had. I'm the brother you never had. I would do anything for you, Dickie. I really feel happy. As if I had been handed a whole new life. I could live Dickie's life for him. Well, whatever you do, however terrible, however hurtful, it all makes sense, doesn't it, in your head. You never meet anybody that thinks they're a bad person. [while planning to kill Marge] And that's the irony, Marge. I loved you. You may as well know it, Marge: I loved you. I don't know...

maybe it's grotesque of me to say this now, so just write it on a piece of paper or something and put it in your purse for a rainy day. 'Tom loves me.' 'Tom loves me.' You know, without the glasses you're not even ugly. I could fuck this ice box, I love it so much. Now you'll find out why Ms. Sherwood shows up for breakfast, Tom. It's not love, it's my coffee machine. "See Venice and die," is what they say? Or is it Rome ? Confusing cities in the famous expression, "See Naples and die!" I can't write and I can't spell. that's the privilege of a first class education. Marge-Ripley can't ski. We'll have to teach him that too. Such low class, Marge. Does this guy know anything? I love the fact that you brought Shakespeare with you and no clothes. Ermelinda says you wash the same shirt out every night. Is that true?..She can do that stuff for you . Anyway, anything you want , most of its ancient.

Without glasses you're not even ugly (Dickie puts on Tom's glasses[You look like] Clark Kent.(Dickie returns Tom's glasses)Now Superman Did I know you at Princeton, Tom?I didn't , did I?...I mean it as a compliment . You got such great taste, I don't know. Most of the thugs at Princeton had tasted everything and had no taste. Used to say , the Cream of America: Rich and thick. Freddie's the perfect example. I'm actually a little relieved you're going, to be honest. I think we've seen enough of each other to for a while. You can be a leech -you know that-and its boring. You can be quite boring. Marge Sherwood[ edit ] Why is it when men play they always play at killing each other? Dick? Dickie? I know you can hear me. What am I doing, chasing you around...? I was going to say I would count to three and if you didn't open the door, but I won't count any more. On you. I won't count on you any more. Whatever it is, whatever you've done or haven't done, you've broken my heart.

That's one thing I know you're guilty of, and I don't know why. [crying] I don't know why, I just don't know why... Herbert Greenleaf[ edit ] You know, people always say that you can't choose your parents, but you can't choose your children... What a waste of lives and opportunities. [abruptly turning his attention to a street musician] I'd pay that fellow $100 right now to shut up. Peter Smith Kingsley[ edit ] Officially, there are no Italian homosexuals. It makes Michelangelo and Leonardo very inconvenient. Good things about Mr. Ripley? Could take some time. Tom is talented. Tom is tender... Tom is beautiful... Tom is a mystery. Tom is not a nobody. Tom has secrets he doesn't want to tell me, and I wish he would. Tom has nightmares. That's not a good thing. Tom has someone to love him. That is a good thing. Tom is crushing me. Tom is crushing me... Tom, you're crushing me! Alvin MacCarron[ edit ] I don't care for B.S. I don't care to hear it. I don't care to speak it.

Mr.Greenleaf also feels there was a silent promise in Dickie's letter to you which he intends to honor. He intends to transfer a good part of Dickie's income from his trust into your name. He doesn't intend on giving the Italian police any information about Dickie's past. He's rather hoping hoping you feel the same. Dickie Greenleaf: Everybody should have one talent, what's yours? Tom Ripley: Telling lies, forging signatures and impersonating almost anybody. Dickie Greenleaf: That's three. Nobody should have more than one talent. So, do an impression. Tom Ripley: What, now? Dickie Greenleaf: Yeah. Tom Ripley: [imitating Dickie's father] "The only talent my son has is for cashing his allowance." Dickie Greenleaf: [stunned] What? Tom Ripley: "Oh, I love to sail, believe me, I love to sail. Instead, I make sailboats, and other people sail them." Dickie Greenleaf: Stop! It's too much. You're making the hairs on my neck stand up! Tom Ripley: "Oh, yes, jazz?

Let's face it, jazz is insolent noise." Dickie Greenleaf: It's like he's here. Horrible, like the old bastard's here! That's brilliant! Brilliant! How do you know him? Tom Ripley: Oh, I met him in New York. Dickie Greenleaf: Marge, you have to hear this! This is scary. Marge Sherwood, I'd like you to meet my father, Herbert Richard Greenleaf, the First. Tom Ripley: "How do you do, Marge. Dickie's made a fine catch. I know Emily thinks so." Marge Sherwood: I... I don't get it. Dickie Greenleaf: It's uncanny! Tom Ripley: [turning to Dickie] "Could you ever conceive of going to Italy, Tom? Bring him back?" Dickie Greenleaf: [confused] What? Tom Ripley: "I'd pay you if you would go to Italy and persuade my son to come home. I'd pay you a thousand dollars." Marge Sherwood: [about Tom Ripley] I like him. Dickie Greenleaf: Marge, you like everybody.

Tom Ripley: [Imitating Marge's voice] I like him. [imitating Dickie's voice] Marge, you like everybody. Tom Ripley: That ring is superb. Marge Sherwood: Oh, Tom, I love you! See? Dickie Greenleaf: I had to promise, capital p, to never take it off. Otherwise I'd give it to you. Marge Sherwood: Isn't it great? I found it in Naples. I had to bargain for it for about two weeks! Dickie Greenleaf: Uh, I hope it wasn't cheap, Marge? Marge Sherwood: Oh, it was! Tom Ripley: Nothing is more naked than your handwriting. See how nothing's quite touching the line? That's vanity. Dickie Greenleaf: Well, we certainly know that that's true. Freddie Miles: Oh God! Don't you want to fuck every woman you see just once? Dickie Greenleaf: Only once? Freddie Miles: Absolutely once. Ciao. Dickie Greenleaf: Tom Ripley. Freddie Miles. Freddie Miles: I mean, hey, if I'm late what would her husband say. Dickie Greenleaf: You look gorgeous.

Freddie Miles: As always. Marge Sherwood: The thing with Dickie... it's like the sun shines on you, and it's glorious. And then he forgets you and it's very, very cold. Tom Ripley: So I'm learning. Marge Sherwood: When you have his attention, you feel like you're the only person in the world, that's why everybody loves him so much. [bitterly] And that's just the boys... Dickie Greenleaf: You can be a leech! You know that. It's boring. You're quite...boring.(a long pause before Tom spoke.) Tom Ripley: The funny thing is I'm not pretending to be somebody else and you are... Dickie Greenleaf: Boring. Tom Ripley: I've been absolutely honest with you...about my feelings. Dickie Greenleaf: Boring.. Tom Ripley: But you... first of all, I know there's something. That evening when we played chess, for instance, it was obvious. Dickie Greenleaf: [curious] What evening? Tom Ripley: Oh sure, no, no, it's too dangerous for you to take on.

Oh, no, no, we're brothers. Hey. And then you do this sordid thing with Marge. Fucking her on the boat so we all have to listen. Which was excruciating! And you follow your cock around and now you're getting married! I'm bewildered, forgive me. You're lying to Marge and then you're getting married to her. You're knocking up Silvana. You're ruining everybody. You wanna play the sax, you wanna play the drums. I mean, which is it, Dickie? What do you actually play?! Dickie Greenleaf: [enraged] Who are you? Huh? Some third class mooch? Who are you? Who are you to say anything to me? Who are you to tell me anything?! [slaps Tom in the face] Actually I really, really do not want to be on this boat with you. I can't move without you moving. And it gives me the creeps. You give me the creeps! I can't move without you moving... Tom Ripley: Shut up... Dickie Greenleaf: ...I can't breathe without you following me around!

You move without [mocks Tom with a falsetto voice] "Dickie, Dickie, Dickie!", like a little girl all the time! Tom Ripley: SHUT UP! [hits Dickie by the side of the face with the oar he just grabbed. Dickie grabs his face with both hands. Tom, shocked, puts the oar down] Oh God, Dickie... Dickie Greenleaf: [with an unmarked cut on his face, suddenly split open causing his face to be disfigured with blood] For God's sake... Tom Ripley: Oh, God! Ok. Ok. [seeing the bloody Dickie] We have to get... Ok. Freddie Miles: In fact, the only thing that looks like Dickie is you. Tom Ripley: Hardly. Freddie Miles: Have you done something to your hair? Tom Ripley: Freddie, do you have something you'd like to say? Freddie Miles: What? I think I'm saying it. Something's going on. He's either converted to Christianity... or to something else. Tom Ripley: I suggest you ask Dickie that yourself. Otello's is on delle Croce, just off the Corso.

Freddie Miles: Is it on [mocks Tom in an effeminate voice] "delle Croce, just off the Corso?" You're a quick study, aren't you? Last time you didn't know your ass from your elbow, now you're giving me directions. [sneers] That's not fair, you probably do know your ass from your elbow. I'll see you. Peter Smith-Kingsley: Can you imagine, though, if he did kill Freddie, what that must be like? Just to wake up every morning. I mean, how can you? Just wake up and be a person? Drink your coffee? Tom Ripley: Well, whatever you do, however terrible, however hurtful, it all makes sense, doesn't it, in your head? You never meet anybody who thinks they're a bad person. Peter Smith-Kingsley: Well maybe, but you're still tormented. You must be. You've killed someone. Tom Ripley: Don't you just take the past, and put it in a room in the basement, and lock the door and never go in there? That's what I do. Peter Smith-Kingsley: God, yes.

Though in my case, it's probably a whole building. Tom Ripley: And then you meet someone special, and all you want to do is to toss them the key and say, open up, step inside. But you can't, because it's dark, there are demons... and if anybody saw how ugly it is... Peter Smith-Kingsley: That's the music talking. It's hard to be gloomy if you're playing "Ease Up, Mother Brown". [takes Tom's hands and plays a more light-hearted tune] Tom Ripley: I keep wanting to do that, fling the door open just let light in and clean everything out. [Peter sits next to him, smiling warmly, but Tom pulls away] Tom Ripley: See, the thing is, Peter... Peter Smith-Kingsley: [sadly] No key. [Marge has found Dickie's rings in Tom's pocket; Tom is about to kill her to keep her quiet] Marge Sherwood: [terrified] I wasn't snooping. I was just looking for a needle and thread to mend my bra. Tom Ripley: That scent you're wearing... I bought that for you, not Dickie. The thing about Dickie...

so many things... That day when he was late coming back from Rome? I tried to tell you this. He was with another girl. I'm not talking about Meredith, either. Another girl who we met in a bar. He couldn't be faithful for five minutes. So when he makes a promise, it doesn't mean what it means when you make a promise, or I make a promise. He has so many realities, Dickie, and he believes them all. He lies, he lies, and that's his... and half the time he doesn't even realize he's doing it! Today, I actually started wondering if he may have actually killed Freddie. [Marge notices that blood is seeping into Tom's robe pocket, obviously from a concealed knife] Tom Ripley: He would get so crazy if anyone contradicted him — well, you know that. You know that. And that's the irony, Marge — I loved you. You may as well know that now. I loved you. I don't know, maybe it's grotesque of me to say that now, so... just write it on a piece of paper and save it for a rainy day.

"Tom loves me." "Tom loves me." Marge Sherwood: Why do you have Dickie's rings? Tom Ripley: I told you. He gave them to me. Marge Sherwood: Why? When? Tom Ripley: I feel as if you haven't been listening to anything I've been saying. Marge Sherwood: I don't believe you! Tom Ripley: It's all true. Marge Sherwood: I don't believe a single word you've said! Tom Ripley: Marge, you're shivering, look at you. Can I hold you? Please, let me hold you. [Marge screams in fright, when suddenly Peter walks through the door] Marge: [running into his arms, sobbing] Oh, God, Peter! Get me out of here, get me out of here! Peter Smith-Kingsley: Marge, what's going on? Tom, are you okay? Tom Ripley You try. You try talking to her. I give up. Marge Sherwood: Why do I think there's never been a Ripley rainy day? Tom Ripley: What? Marge Sherwood: [leans closer] I know it was you. You killed Dickie!

I know it was you! Peter Smith-Kingsley: Sorry, I'm completely lost. Tom Ripley: I know. I'm lost. I'm going to be stuck in the basement, aren't I? [voice cracking] That's my, that's my... terrible, and alone, and dark, and I've lied about who I am, and where I am, and now no one will ever find me. Peter Smith-Kingsley: What do you mean... lied about who you are? Tom Ripley: [near tears] I always thought it'd be better to be a fake somebody than a real nobody. Peter Smith-Kingsley: What are you talking about? You're not a nobody. That's the last thing you are. [Tom lays down next to Peter, preparing to strangle him] Tom Ripley: No, no, don't get up. Just tell me nice things, some nice things about Tom Ripley.

Question: Who directed the 1999 film The Talented Mr Ripley
Answer: Anthony Minghella